Fuzzy Duck released just five hundred copies of their only album in 1971, resulting in original copies now fetching up to £900. The interest in the band these past fifty years has led to many re-pressings and re-issues. Some, like my copy, have added as bonus tracks, the band’s two singles and their respective B-sides.
Formed in 1971 in North London, their sound was principally of a heavy progressive rock nature, built on a foundation of hammond organ, time signature changes and elements of jazz .
The guitar and organ combine seamlessly and I’d say there are future echoes of Uriah Heep in here. That may not be too far from the truth, for though he didn’t join Heep, organ player Roy Sharland was previously a member of Spice, who were indeed the mighty Heep’s first incarnation.
The track above, ‘Mrs Prout,‘ is typical sounding of what the band were capable of – I just love how the track uses that shuffling drum sound, mixed with a rolling bass line. The second half of the track I’m sure must have been in the subconscious of The Stone Roses when they wrote ‘Fools Gold.’
Looking at the credits on the album sleeve, only four band members are listed. However, from what I can make out, guitarist Garth Watt Roy was also in Fuzzy Duck. Indeed, he wrote their first single, ‘Double Time Woman,’ and contributed to the writing of two other ‘bonus tracks’ on the album. I can only assume he had moved on before the album was recorded? (The aforementioned track and the other two in which Garth wasinvolved, differ, I think from the others in that they have that sharp edge of Atomic Rooster poking through.)
What interested me here, though was the surname, Watt Roy. Not a common one in the music business back in the early Seventies, I’ll wager. I checked, and my hunch was correct – Garth is the older brother of Norman Watt Roy, who played bass in one of my favourite bands, Glencoe.
It’s such a shame Fuzzy Duck din’t leave more of a legacy. This album has seen more visits to my turntable these past few weeks than any other in my collection. I highly recommend it to anyone interested in early Seventies rock.
(I don’t think this video was issued by the band, but the track is the album closer, and shows the lads had a good sense of humour!)
FUZZY DUCK Mick Hawksworth – Bass Roy Sharland – Organ Paul Francis – Drums Graham White – Guitar / Vocals Garth Watt Roy – Guitar
The late Seventies, here in UK, was the place to be if you enjoyed variety of musical genres. For me as a kid, I graduated through Glam Rock to Heavy Rock to Punk to Reggae and then Rock ‘n’Roll / Rockabilly. I’m glad to say, these were not just whimsical fads I was passing through – they still form the basis of my record collection and listening pleasure to this day.
It’s easy to see then why I was drawn to this track.
Based in Vancouver, Canada, Rich Chambers was determined from a very early age that he was going to be a rock ‘n’ roll star. However, several years of touring the local toilet circuit for the sake of a pint or two of the local craft lager made him re-consider. For a while.
He returned to his studies and gained a degree in English and latterly, a Masters in Humanities. But the music still burned within him, and actually the hook to the chorus of this song came about rather randomly as he walked to his car in the parking lot for the University.
Although the harmonies had been brewing for many years, it is only now, with a bit more ‘life perspective,’ that Rich has been able to match the tune to a reflection of High School experiences and use that as a metaphor for how we perceive our dreams and innocence of youth.
This three minute rock ‘n’ roller has been billed as Buddy Holly mixing it with Green Day; rock ‘n’ roll with a bit of added modern spike.
Me? I’m reminded of the vibrato tremble of The Undertones’ Feargal Sharkey‘s voice and the melody and fun attitude of The Vandals. And there’s certainly a bit of old school punk bounce to the bassline, if you listen.
The lyrics may take a slightly cynical look at the missed opportunities of our youth and how decisions taken so young can impinge on the rest of our lives, but hey ….. it’s fun tune!One to put a smile on your face and get your feet moving.
I like it!
(This was the second of four singles released so far this year by Rich. The video has been receiving really positive feedback from several Film Festivals.)
TEAR GAS: line-up #2, who recorded the debut album ‘Piggy Go Getter.’ (Back row, left to right: Davey Batchelor, Chris Glenn & Wullie Munro,) (Front row, left to right: Eddie Campbell & Zal Cleminson.) ***Photo, by John Young in the dressing room of The Electric Ballroom, Glasgow – June 1969)***
It feels a little strange, sitting here at home outside Glasgow, Scotland and writing about one of our city’s most famous ‘unfamous’ bands. I mean, everyone knows that members of Tear Gas ultimately joined forces with Alex Harvey to form ‘The Incredible Alex Harvey Band,’ right?
At least, that’s what was proclaimed on the sticker that adorned the sleeve on my copy of their re-issued debut album, ‘Piggy Go Getter.’ A bit of a ‘Sensational’ cock-up, by the record company, I’d suggest.
Playing the local Glasgow circuit as The Bo-Weavels, the band changed their name to Mustard, when vocalist George Gilmour left. Andy Mulvey, formerly with top Scottish beat band, The Poets, stepped in,
More changes would follow with Mulvey himself moving on. Wullie Munro signed up, taking over on drums. He was backed up in the rhythm section by new bass player Chris Glenn, while Eddie Campbell came in on keyboard duties. Joining forces with the two remaining members of The Bo-Weavels / Mustard, Davey Batchelor and Alistair ‘Zal’ Cleminson, it was decided that another name change was in order, and, in keeping with the ‘mustard’ theme, I guess, the band were re-named, Tear Gas.
They were billed as a ‘heavy rock’ outfit, though I find that hard to comprehend from their debut album, ‘Piggy Go Getter.’ Most of the tracks are pleasant enough, but pretty much soft rock at best, and not so memorable, if I’m honest. The second side of the album has a bit more of a rock edge and perhaps the final track, ‘Witches Come Today,‘ was a better indication of what was to come with the follow-up.
(Tear Gas – second album.front cover.)
The eponymous, second album, now with Ted McKenna on drums, is much more like what I would have expected from a band who were scouted by Alex Harvey when looking for a ‘backing band.’ Having lost his brother, Les, guitarist with Stone The Crows, and who was electrocuted during the soundcheck for a show in Swansea, Harvey searched for solace in his work. He had previously been working with the stage musical, ‘Hair,’ in London but now sought to embark upon a solo career … if only he could find the right band.
Following the release of the second album, Ted Mckenna’s cousin, Hugh Mckenna joined in place of keyboard player Eddie Campbell. Hugh would also take on lead vocals when Davey Batchelor left to pursue a career in production.
The resultant line-up of Zal Cleminson, Chris Glenn, Hugh McKenna and Ted Mckenna was the one ‘spotted’ by Alex Harvey, and though the band had some misgivings about their new ‘boss’ (Alex was about fifteen years older for a start) and his rather autocratic attitude, they realised they had probably gone as far as any ‘big fish in a small pond’ could and …. well, the rest is history as they say.
TEAR GAS (Ultimate / Final Line up) Zal Cleminson – Guitar / Vocals Hugh McKennna – Keyboards / Lead Vocals Ted McKennna – Drums Chris Glenn – Bass / Vocals
Joanne Shaw Taylor has come a long way since being ‘discovered’ by Eurythmics’ Dave Stewart – and not just geographically, relocating from her home in the Black Country, England, to Detroit, USA.
Now widely regarded as the UK’s premier blues rock guitarist, she is set to release album number eight on September 24th. ‘The Blues Album’ was recorded at Ocean Way Studios in Nashville by blues legends Joe Bonamassa and Josh Smith, both of who guest on the eleven track album of blues covers.
Joanne and Joe had been friends for many years, initially meeting when Joanne opened a show for a young Joe Bonamassa some while back. Since then they have kicked ideas about and learned from each other.
So when the pandemic struck and normal life was no more, Joanne, like the rest of the world, finally found herself with some time on her hands.
“I’d known from the beginning of my recording career that one day I wanted to record an album of blues covers, I just wasn’t sure when theright time to do that would be,” says Joanne. “I’ve always found it far easier to write my own material than come up with creative ways to make other artists’ material my own.”
That time was now!
(Photo by Christie Goodwin)
“I mentioned my new project idea to Joe Bonamassa,” recalls Joanne. “He asked me for my song choices. Immediately he began sending me notes and was texting me song suggestions.
“He was already acting as a mentor as well as an unofficial producer on The Blues Album, so I asked him if he’d fancy the job, officially,” says Joanne. “Thankfully, he accepted. The Blues Album has been everything I hoped it would be. It’s been a labour of love, overseen by an artist, producer, and friend who I trust beyond measure.“
The covers on ‘The Blues Album,‘ are not your regular fair. Joe, having seen Joanne perform so many time previous, made it clear from the outset that he wanted her to push her voice. He felt, not unnaturally, that her virtuoso guitar playing overshadowed her voice, and there was more to give, vocally.
The songs the pair settled upon, I think offer that opportunity. They may not be the obvious blues standards, but there are some by likes of Albert King, Fleetwood Mac’s Peter Green and Magic Sam. Others that Joanne pays tribute to include Little Village, Little Milton, The Fabulous Thunderbirds and James Ray.
Some of the tracks were initially B-sides of singles, and so with Joanne’s personal and unique interpretation, the whole album sounds so fresh and new.
Album opener ‘StopMessin’Around,’was written by Peter Green of Fleetwood Mac and released in 1968, This version has a more ’rounded’ feel to it I think. The guitar doesn’t sound quite so harsh, the jazzy, boogie piano break from Reece Wynans adds a real party feel, while Joanne’s voice has a wee added snarl to it.
‘If That Ain’t A Reason,’ has Joanne sounding pretty sassy in a more full sounding and slightly more uptempo version of the Little Milton number, the horns and guitar melding into a loud and punchy number.
‘Keep On Lovin’ Me’ is the Blues mixed with a bit swing. A bouncy bassline drives this along, with powerful vocals and guitar solos from Joanne, who feel she has managed to encapsulate the feel of booth the Magic Sam and The Paladins‘ versions.
‘If You Gotta Make A Fool Of Somebody’ was originally recorded by James Ray in 1961, though Joanne says she was more familiar (as was I) with the Aretha Franklin version. I can also hear a little bit of Bonnie Raitt in the vocals here,
The next track is on the album courtesy of a suggestion by co-producer Josh Smith. It’s Little Village‘s ‘Don’t Go Away Mad.’ and features Joe Bonamassa guesting on guitar and vocals, It”s certainly different to the other tracks on the album, and actually reminds me very much of Van Morrison’s ‘Bright Side of the Road.‘
I have no idea about the following short instrumental, ‘Scraps Vignette.’ Neither, it appears, does Joanne: “We were working on another cover, and when we got to the studio, it just wasn’t working. We ended up having the band change the vibe completely. When I returned home to Detroit, I got in Rustbelt Studios with Al Sutton to put down the vocal, but it still wasn’t working. I believe Josh kept the take without the vocal and edited what we have now which is “Scraps”.
‘Can’t You See What You’re Doing To Me,’ was originally a Stax release from Albert King. This is a tremendous cover – full sounding and brooding, it’s one to listen to. I mean really listen – there’s so much loaded into this one track between the horns, prominent bass, Joanne’s searing guitar work …. I hear something different every time I play this.
‘Let Me Down Easy‘can be heard at the top of this post. Another Little Milton song, Joanne’s voice take on a more gritty, slightly rasping tone … like a pared back Janis Joplin even.
The Fabulous Thunderbirds song, ‘Two Time My Loving‘ was suggested by producers Joe and Josh and is a real toe-tapper. I think it’s one of those songs you don’t realise you know until you actually hear it!
‘I Don’t Know What You’ve Got,‘ is a real smoky blues number, with such a soulful Hammond organ, and warm sounding horn section the underpinning features, with Joanne’s guitar moodily working over the top. Says Joanne: “I’m a huge Little Richard fan this has long been one of my favourite songs. In fact, this was the first song I selected to put on this album. Little Richard didn’t perform or record too many ballads, so I think it’s a particularly stand-out track for him in my eyes. Having Reese Wynans playing keys on it was brilliant, given that Reese had worked with Little Richard.”
The album closes with a more upbeat number, again chosen by Joe and Josh – ‘Three Time Loser.’ I can’t say exactly why, but for some reason this track reminds me of one of my favourite artists, Frankie Miller. I’ve checked, and it’s not n any of his albums as far as I know …. but anyhow, that’s a pretty big compliment, right there!
Here’s a wee taste of what to expect on this album:
MUSICIANS INVOLVED WITH THE RECORDING. Joanne Shaw Taylor – Guitar / Vocals Josh Smith – Guitar Reece Wynans – Keyboards Greg Morrow – Drums Steve MacKey – Bass Steve Patrick – Trumpet Mark Douthit – Saxophone Barry Green – Trombone + Joe Bonamassa – Guitar / Vocals on ‘Don’t Go Away Mad’ + Mike Farris – special guest on ‘I Don’t Know What You’ve Got.’
(Photo by Christie Goodwin)
Joanne Shaw Taylor’s “The Blues Album” is released by KTBA Records on September 24th via www.ktbarecords.com
‘What Has Happened,’ the lead single from the forthcoming album, ‘Petunia.’ The video for this was shot around the parks of the lads’ home city, Orlando, Florida.)
Formed in Orlando Florida back in 2008, brothers Andy and Edwin White, as Tonstartssdandht are set to release their eighteenth (!) album, ‘Petunia,’ on October 22nd 2021.
From Wikipedia: Commenting on their prolific output, they have said, “Even a shitty recording can possibly be salvaged or used in a different way, but we generally justrecord record record. Just hit that button and don’t worry about it. Do it or never do it.” Andy has a long term interest in archiving and documenting the band’s live shows, which he began recorded with a 4-track. Recently he has been recording most of their tours, including dates across Europe,Russia, South East Asia, and Australia. When recording “studio” albums, they aim for a warm, room sound, using the close mic technique, and usually recording in their own apartments, with ambient sounds (including microwaves being turned on) apparent ininstances
Renowned for playing shows in which their psych infused set goes a little ‘off piste’ and the songs become longer, languid jams, they view the album as the bare bones of future live sets.
Where most Tonstartssbandht albums come together slowly over years, recorded on the fly whenever the Whites have a few spare moments on the road, ‘Petunia’ was largely written and recorded in their home city of Orlando in 2020.
Many of the tracks had been played live, but in extremely rough form, and hadn’t yet developed into any kind of mature stage. With plenty of time on their hands thanks to the lockdown, and no shows to play, Andy and Edwin decided to pack some flesh onto those skeletons and bring them to life on their own.
‘Petunia’ is the first Tonstartssbandht album to be created in a sustained manner and in a consistent environment, written and recorded in a single place over a focused period of time.
It was recorded at the brothers’ home studio in Orlando between April and August of 2020, but was mixed by Joseph Santarpia and Roberto Pagano at The Idiot Room in San Francisco. This was the first time in eighteen albums that ‘outsiders’ have been brought in at the mixing stage, the result this time being that ‘Petunia‘ is brighter, punchier, and more direct than its predecessor.
If the single, and indeed the following video from five years ago, is anything to go by, then we’re in for a treat.
(Songs on this video are taken from the ‘Christchurch’ album of 2016 and illustrate the band’s propensity to veer off into psychedelic style jams.)
TONSTARTSSBANDHT
Edwin White – Drums / Vocals Andy White – Guitar / Vocals
***** Tonstartssbandht‘s discography is ‘complicated’ by different formats of some recordings being released by different labels.
***** Rather than produce a table here, perhaps it would be be simpler to check out the band’s releases here on Discogs.
At long last, the UK music scene is awakening from its pandemic induced torpor. Studios are re-opening and gig venues are once again being filled with happy and enthusiastic punters.
Unsigned bands up and down the length and breadth of the UK can once again load their gear into whatever battered mode of transport is available and travel across town, disgorging their instruments into the next s****ole venue on the ‘toilet circuit.’
These are the bands celebrated at LOUD HORIZON: the underplayed, the underpaid and the under appreciated.’
One such band is Hollow Doors, from Scunthorpe, in North Lincolnshire, England. The alternative / indie / rock four piece formed in 2017 and quickly gained a loyal local following. With their support, the band have financed the writing and recording of a set of singles, recorded at the spanking new Woodley Moss Studios in Normanby, which will be self-released over the coming months.
The first of these is this, ‘Fake Style,’ a video of which is in course of being produced. Local radio stations, including BBC Lincolnshire, have already picked up on the track.
As far as reference points go (which I’m afraid I have to provide – it’s the law, you know) I’d say there’s a wee bit channeling early Franz Ferdinand going on here? That’s meant as a compliment, by the way – no need for hate mail or severed horse heads through the post, thank you.
From what I’ve heard, I like the sound of Hollow Doors and their DIY attitude. I’m sensing a little bit similarity in vibe, to one of Radio 6Music presenter, Steve Lamaq’s favourite bands, Theatre Royal – whose first national exposure many years ago came via …. oh, I’m far too modest to say.
There’s a long way to go yet, and a lot of hollow doors to be knocked upon – but who knows? Why the hell not?
From a young age, we’re advised not to ‘judge a book by its cover.’ By the same token, as we grow older, we must learn not to judge a musician by their back catalogue.
Case in point would be Glaswegian, Ewan MacFarlane.
As a long time member of electo rockers Apollo 440 he would strut, sing, shout and dance on stages across the world, firing up crowds numbering in their thousands.
(The studio version of this track appeared on Apollo Four Forty’s 1996 album, ‘Electro Glide In Blue.’)’
As front-man of The Grim Northern Social, Ewan was the main songwriter of the critically acclaimed but regretfully short-lived band, whose debut album in 2003 was voted one of the year’s best by Rolling Stone magazine.
For a while during 2015 / 2016, he would liaise via the internet with Filip Rasch from southern Norway, to collaborate on a series of releases under the name of Mennska.
And now ….?
Nobody can really afford to stand still in the music industry. (Well, certain artists do, but in general they’re totally pants.) Some of the most successful continually re-invent themselves as they age, David Bowie being the prime example.
So, what’s led Ewan MacFarlane from the dance culture to the softer, (possibly Del Amitri inspired?) Americana infused melodic Rock of this post’s opening video – his latest single, ‘Underneath Your Spell‘?
“Its high time I stepped out and made the music I always needed to make,” he says.
The single is the second to be lifted from his forthcoming (October 29th) debut solo album, ‘Always Everlong,’ following hard on the heels of the brilliant ‘Stirrin’ In The City,’ which is posted below.
‘Always Everlong,‘ tells tales of tension with pledges of eternal love. It’s an expression of his hopes and fears, emboldened by a personable approach to classic rock writing as Ewan bares his soul by putting pen to paper, unafraid of the consequences.
In his own words, “It’s both about a lust and love for life and for each other. It’s about endless boundaries, about taking the good with the bad, the happy with the sad, the laughter and the tears, but not least it’s about kicking down the walls of constraint and living life exactly how you choose. Free to be what you want to be without judgement.”
To my eternal shame, despite owning four Apollo 440 singles and living in the same Dear Green Place as Ewan I never made the connection between him, them, and The Grim Northern Social. I was probably too obsessed with hardcore punk at that time.
Taking a leaf from Ewan’s book, I think now is the time to re-invent the listener in me.
Who’s to stop me loving hardcore punk and melodic rock?
Contributor: John Allan, Bridgetown Western Australia, September2021)
At the age of 17 in 1975 I had found myself a ‘proper’ job. Junior musical instrumental salesman in one of Glasgow’s largest and iconic music stores. I soon learned that all sorts of wannabe rock gods would come in just to try out a Fender Strat or Gibson Les Paul guitar with no intention of ever buying one and usually sent these jokers on their bike.
On one particular day a young lad about my age, a little on the chubby side, approached my colleague and timidly asked to try out a guitar on display only to be knocked back. I don’t know why, call it a moment of weakness, but I found myself feeling really sorry for this awkward nerdy kid.
He became a regular customer over the next few months and years ( I never did get to know his name at the time) and eventually did buy a guitar – a reasonable copy of a Fender or Gibson from memory. Every time I saw him (we were on nodding terms now) there was a subtle change to the appearance of this one time dweeb of a kid. A piercing here, a tattoo there, a ripped pair of tight jeans perhaps until the last time I saw him. There he was in all his splendour with tartan bondage type trousers, leather jacket all studs and safety pins and a bright green spiky mohawk haircut. Wow ! I thought. What a transformation. A punk chrysalis no less.The shop closed and I moved on.
About three years later I was watching the TV show Top of the Pops and they introduced a punk band called The Exploited. I thought ‘here we go’ and was about to turn it down when I noticed my man cavorting about with a flying V – the lad from the shop!
Same scenario seven years later. Watching MTV and Goodbye Mr. McKenzie popped up and there he is again !
This very blog jogged this memory and so inspired further in depth research (well, half an hour on Google) to find out more on ‘customer come celeb’.
Our guitar hero is known affectionately as Big John Duncan, and he does age with me.
After The Exploited, he had bands Human Zoo, Crazy Maybe and Blood Uncles before joining the McKenzies.
He then went on to have a life as a guitar technician with Nirvana, Twisted Sister, Foo Fighters and Ministry.
Here he is talking about Kurt Cobain and Courtney Love.
Goodbye Mr McKenzie are making a bit of a comeback apparently so look out for them if you’re in central Scotland.
I wonder at any time over the years if Big John paused and thought “I wonder what ever happened to that spotty faced teenage music shop assistant that let me try out a guitar ? Oh, here’s your Fender Mustang Kurt.”
Sacripolitical were, and now are now once again, a hardcore punk band from Marin County, California. Formed in 1982, around their time of leaving High School in San Rafael. The band, whose name reflects the members’ irreverent attitude towards politics, played shows around the state right through the decade.
They first took to the stage at the Sleeping Lady Cafe in Fairfax in late 1983, as a three-piece. No amp; upturned plastic pickle barrels substituting for drums, and improvised,, shouted vocals – the stunned audience of hippies and punks didn’t quite know what to make of the young upstarts!
Vocalist, both then and now, John Marmysz, takes up the story:
“Back then, there was a very small, but very enthusiastic punk scene here in Marin County, California that has been sorely under-documented and over-shadowed by the San Francisco and East Bay scenes. There was a lot of raw creativity and rebellion, a good deal of trouble, lots of fun, and some sad tragedies.
“We played shows throughout the 1980’s on the bill with bands like Frightwig, Fang, Camper Van Beethoven, and The Pukes. We were interviewed on the Maximum Rock N Roll radio program, and in 1993 we recorded an EP titled ‘Peace: Under Our Supervision’ that was released on cassette.”
During the mid-1980’s, Sacripolitcal became a fixture at Marin County punk shows, frequently playing at the Sleeping Lady Cafe, various underground warehouse shows, and at the Flashback Cafe in Mill Valley, where the founder of “Cutting Edge Productions,” Mike Kavanaugh, dubbed them the house band.
Performances at the Flashback Cafe were frequent and rowdy. It was there that Sacripolitical appeared with bands such as Tales of Terror, Special Forces, Victim’s Family, Defend the Keg, Diet Tribe, The Pukes, and many, many others.
Often, Sacripolitical would hand out special “prizes” and “treats,” sometimes consisting of band pins and stickers, sometimes consisting of spent rifle and pistol casings. The shows went late into the evenings and were regularly interrupted by the police, who sought to silence what must have appeared to them like a riot waiting to happen.
(Live at Flashback Cafe. Mill Valley 1984)
(Live at the Cabbage Patch, San Rafael, 1983)
John continues: “Sacripolitical broke up in 1993 and everyone went their different ways, but by 2019 some of us – now old guys! – resettled in and around Marin and decided to start playing shows again. This, as it turns out, was bad timing as the pandemic hit in 2020 and live music venues went into hibernation.
“The pandemic killed a lot of bands, but we assembled some recording equipment, learned how to use it, and started writing new songs.
“In 2021 we recorded a 4-song, DIY EP and pressed a 7” 45 rpm vinylrecord. The EP is titled ‘Pandemic Sessions, ‘ commemorating the conditions under which it was made. We’ve also been contributing songs to a number of punk charity compilations put out by 8 Up Records.”
You can hear, and indeed buy, the result of these sessions , here on Bandcamp. I particularly enjoyed ‘Gogol’s Nose,’ with the discordant saxophone giving a bit of an old school, No Wave kind of feel.
Hopefully, over the coming months, we can all get on top of the pandemic, and gigs will once again become more commonplace. Neighbourhoods need a vibrant local music scene, and while they may now be about thirty years older, I bet Sacripolitical can still do ‘vibrant’ with the best of them!
(Live, January 2020 – pre-pandemic.)
SACRIPOLITICAL John Marmysz – Vocals Matt Schmidt – Guitar Mark Wallace/Mike Hansen – Bass Gary Benson – Drums Charles Greer – Saxophone Juneko Robinson/Sian Killingsworth – Backing Vocals
Choi Se Eun (bass) and Jeong Yea Wong (guitar) are Rumkicks. They are a two piece punk band from Seoul, in the Republic of Korea, although I believe there are plans for them to be joined by a permanent drummer soon.
(Choi Se Eun)
(Jeong Yea Wong)
They formed in September 2018, and after releasing two singles in the following year, they had great plans and hopes for 2020. Didn’t we all?! The surging pandemic put paid to that and the band were forced to remain at home instead of accepting the invitation to play at the Chonging Punk Festival in China. It had also been hoped to play a few dates around Beijing.
This year though, has seen a gradual relaxation of restrictions with life slowly beginning to return to some sort of normality and Rumkicks have once again been allowed to play gigs in their home country. They have also released two singles this year to date, ‘Don’t Touch My Head’ (above) and this, ‘I Don’t Wanna Die.’ And in true punk spirit, have also contributed songs to various charity compilations in Asia.
They are currently working hard towards embarking upon an Asian / China tour once the pandemic finally releases its grip on inter country travel. Reading between the lines, though, I think their BIG aim for 2022,, is to take that stage in Blackpool, England, at the iconic Rebellion Festival and play alongside many of their musical heroes. (I would hazard a guess that one of the bands they admire, is Cock Sparrer – do I detect a likeness to their ‘trademark’ song, ‘England Belongs To Me,’ in this recording? Don’t get me wrong – it’s no bad thing. I like it!)
**Actually, after posting this, I found a video of the band covering thesong in a small venue somewhere back in 2019.**
Although I’ve been into Asian punk for a while, the bands I’ve enjoyed have been mainly from China and Japan: Another Idea and Hang On The Box, (China) and The Erections and Shonen Knife (Japan) are the ones that spring immediately to mind from my collection. Rumkicks are the first from Korea. I’m sure there’s a whole new punk out there for me to discover!
I find the music of Rumkicks a real ‘pick me up.’ It’s old-school, in yer face, punk; it’s fast and furious; it’s angry, but fun. I love the vibrancy of the music and colourful image.
When I go to a gig, I like to have a few beers jump around with a group of like-minded souls. If they do manage to the UK next summer, and they head up to Glasgow, then look out for the old punk with a puny mohawk, giving it laldy down in the mosh pit!
RUMKICKS
Choi Se Eun – Bass / Vocals Jeong Yea Wong – Guitar / Vocals
